Kino Produzioni’s CEO Giovanni Pompili on tax credit contribution to Cannes title ‘The History of Sound’

CANNES – Since winning the Golden Bear with Alcarràs, Kino Produzioni has kept moving forward. It has continued to explore and experiment with films like Carlo Sironi’s My Summer with Irène and the acclaimed Spanish titles They Will Be Dust and Puan. We met with the company’s CEO, Giovanni Pompili, in Cannes, where he was supporting, among other things, the Official Competition film The History of Sound. Directed by Oliver Hermanus and starring Paul Mescal and Josh O’Connor, the film was partially shot in Italy, with Kino managing the executive production of those scenes.

When did you become involved in the production of History of Sound?

The History of Sound is an American production; we simply contributed to its realization. When I read the screenplay, I was profoundly touched by its emotional depth, which was the primary reason we decided to support the film. Since the production required filming certain scenes in Italy, we provided assistance beyond just executive production. This was largely thanks to Lara Costa Calzado, a producer at our company who spent ten years working in the United States. She knew about the project and was very passionate about it. It was truly a pleasure to be involved in a film that resonates so deeply with audiences.

I understand the project had a complicated production history?

Yes, that’s why we chose to provide our support. With the help of the tax credit for foreign productions, we were able to play a vital role in bringing the film to completion. Italy’s involvement went beyond the tax credit, showcasing the expertise of our technicians during the filming days here. The tax credit attracts major productions (such as Mel Gibson’s shoot at Cinecittà), and positions Italy as a prime location for independent films with significant international appeal. The work we carried out in Italy for The History of Sound, recreating scenes of 1920s Rome, seamlessly integrated with the rest of the production. We are very pleased with how effective the tax credit system for foreign productions has proven to be.

Without such incentives, how would those scenes have been handled?

Without tax incentives, the production might have chosen to film that part of the protagonist’s life in another city, such as Budapest. That is why certainty about available support is essential. I regret, for example, that we were unable to produce Carla Simón’s new film, Romería, in Competition at Cannes, after producing her previous one, Alcarràs. This was due both to last year’s freeze on the tax credit and the one-year suspension of the call for minority co-productions. Now we hope the situation is returning to normal and that the commission will be appointed soon.

As a producer, what improvements would you suggest in these cases?

Clear and reliable timing, and transparency. These are crucial across all sectors of the public sphere.

How worried are you about Trump’s threat to impose tariffs on films shot abroad?

It depends on how the threat is enforced. These are all negotiation tactics. Who is targeted? An American importer who works with foreign films? An American company producing content abroad? Or independent producers choosing to shoot overseas because of opportunities? I believe the threat mostly concerns major studio films.

You mean like the film Christopher Nolan is shooting in Sicily?

Yes, but it would be difficult to shoot the ten years of Ulysses in Arkansas or Maine. Certainly, if tariffs were imposed, having tax incentives here would help offset the cost. Our tax credit system has been copied internationally.

It seems like we have exported something valuable.

It is undeniable that incentives for film productions positively impact the local economy. Research shows that every euro invested returns more than threefold. It is a virtuous cycle that brings significant benefits. Of course, some have abused the system. The problem was that, during reform of the existing mechanism, everything was frozen. If a new system had been developed while the old one was still active, the resulting paralysis could have been avoided. We hope this was a temporary setback that will not be repeated.

In seeking quality projects, what are your priorities as a producer?

We want to work on projects with a strong personality. In a time flooded with content, we aim to find works that leave a mark, not filler or mere repetition of familiar formulas. We focus on experimentation and research. There is a voice in the Ministry that says “unable to attract financial resources,” meaning projects that are not necessarily made for the market. If Henry Ford had only focused on what the market wanted, he would have bred horses. We must remember every film is a prototype; there are no perfect rules. This year has proven it: films with personality stand out, such as Anora, The Brutalist, Vermiglio, and The Great Ambition. These films spark debate; they may be liked or disliked, but beyond artistic results, they offer material for communication. Films should provoke a reaction because audiences are desensitized. Make fewer films, but let them endure. We need clear voices with their own signature.

What projects are you currently working on?

We are working on Irene Dionisio’s next film, which we will shoot entirely in Sicily starting in September, in Catania and on Mount Etna. It is a story about friendship and words left unspoken. A very personal story the director wrote with Marco Borromei, creating a narrative that, through memory, touches universal themes. On our schedule we also have the film Sants by Mikel Guerrera, a Spanish heist film produced with our longtime co-producers Lastor Media. We are waiting for the outcome of the call for minority co-production funding to see what level of involvement we can commit to. Later this year, we will prepare a film traveling across Italy from Alto Adige to Sicily for Pandora, a German production with which we previously worked on the Argentine film Puan.

Many think producers only manage money. But isn’t there a part of the heart necessary for this job?

Economic sustainability is obviously fundamental. Some focus mainly on maximizing profit. I think about making films with soul, social sustainability for those involved, and respect for the environment. In short, low environmental impact and high social impact.